Degree | Type | Year |
---|---|---|
Audiovisual Communication | FB | 1 |
You can view this information at the end of this document.
This course does not require any prior prerequisites.
This subject provides the general concepts and theoretical foundations of audiovisual language as an effective tool for message and content production. It is the first approach in degree to sound and audiovisual language, its characteristics, its potential, and its limitations, etc. It is a basic subject that must equip the student with specific vocabulary and basic concepts that they will later have to apply and complete in the rest of the subjects related to the creation of messages and the production of audiovisual communication content that they will study throughout the degree.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Master classes with ICT support | 37.5 | 1.5 | |
Seminars | 15 | 0.6 | |
Type: Supervised | |||
Follow-up tutorials | 7.5 | 0.3 | |
Type: Autonomous | |||
Reading, analysis and synthesis of texts and documents | 25 | 1 | |
Realisation of commissioned works | 32.5 | 1.3 | |
Study: Elaboration of schemes, conceptual maps and summaries | 25 | 1 |
The acquisition of knowledge and skills by students will be carried out through different methodological procedures than includes lectures and exercises of analysis, debate and reflection from hearings, viewings and reading material.
In the theoretical sessions, the contents of the course will be presented, thus providing the necessary elements to carry out the practical exercises. As for the seminars, they will be used to apply to real cases what was learned in the previous theoretical sessions.
A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students will find all teaching materials and necessary information for efective course monitoring. Should the teaching modality change for reasons of force majeure according to the competent authorities, the teaching staff will inform students of any modifications to the course schedule and teaching methodologies.
The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Excercises commissioned in the seminaris | 50% | 5 | 0.2 | KM02, SM02 |
Theoretical exam | 30% | 2 | 0.08 | KM02, SM02 |
Video essay | 20% | 0.5 | 0.02 | KM02, SM02 |
Continuous Assessment
The continuous assessment consists of the following activities:
A. Theoretical exam, 30% of the final grade.
B. Video essay, 20% of the final grade.
C. Practical exercises assigned in the seminars, 50% of the final grade.
The final grade of the continuous assessment will result from the weighted sum of the points obtained in the different procedures. However, no average will be made if the practical part and the theoretical part of the course have a grade lower than 5. That is to say, it is necessary to have the average of the practical part and the theoretical part with a grade minimum of 5 in order to be able to obtain the corresponding weighted sum of the continuous assessment.
Reassessment
The students must meet the following two criteria to be able to present themselves for the reassessment/resit.
a. The students will have the right to reassessment if they have been evaluated on the set of activities, the weight of which is equivalent to a minimum of 2/3 parts of the total grade of the subject.
b. The students who have participated in the continuous assessment and fail the theoretical test and/or the video essay (theoretical part) will be able to participate in the reassessment as long as they have obtained a minimum grade of 3.5 in each activity and have carried out the ordinary review.
The practical exercises assigned in the seminars are excluded from the reassessment process (the competences and skills not acquired throughout the course can hardly be achieved in a couple of weeks).
Even if the students achieve a grade higher than 7 in the reassessment activity, their maximum grade in that activity will be a 7.
Unique Assessment
A. Theoretical exam, 40% ofthe final grade. It must be approved (5 or more) to be able to pass the course subject (indispensable condition). The exam model will be totally different from that of the continuous assessment.
B. Delivery of a 5-minute video essay, together with a justifying report, 30% of the final grade.
C. Delivery of a 5-minute narrative sound podcast, together with an explanatory report, 30% of the final grade.
Resit of the Unique Assessment
The students must meet the following criteria to present themselves for reassessment:
a) According to the regulations, in order to participate in the reassessment process, the students must have been previously evaluated on at least 2/3 of the total activities of the subject.
b) The theoretical written exam may only be resat if the student has obtained a mark below 5. The reassessment will consist of a written examination designed to evaluate theoretical knowledge.
c) The video essay cannot be reassessed and the grade obtained (whether passed or failed) will be part of the weighted average of the final grade.
d) The narrative sound podcast cannot be reassessed and the grade obtained (whether passed or failed) will be part of the weighted average of the final grade.
Even if the students achieve a grade higher than 5 in the reassessment activity, their maximum grade in that activity will be a 5.
Second enrollment
In the case of a second enrollment, students may take a single synthesis exam, which will consist of an individual written test with both theoretical and practical questions. The final grade for the course will correspond to the grade obtained in the synthesis exam.
Not assessable
In this course, a student will be graded as not assessable if they do not attend or complete any of the scheduled assessment activities on the dates indicated in the course calendar, without a duly justified reason (such as illness with a medical certificate, the death of a close family member, a court summons, or other similar situations properlydocumented).
Plagiarism
In the event that the student performs any irregularity that may lead to a significant variation of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the assessment acts of the same subject, the final grade for this subject will be 0.
Artificial Intelligence
For this course, the use of artificial intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic or information searches, proofreading, or drafting texts that will later be edited and improved by the student. The use of AI-generated audio and video isalso allowed in non-significant parts ofaudiovisual projects, such as visual or sound transitions, decorative elements, or representations of situations that would bedifficult to record without advanced audiovisual resources. These materials must not replace the main content or the student’s analytical contributions, and students must ensure they hold the rights to use them and comply with current intellectual property regulations. Students must clearly identify which parts have been generated using this technology, specify the tools used, and include a critical reflection on how these tools influenced the process and final outcome of the activity. Lack of transparency in the use of AI in this graded activity will be considered academic dishonesty and may result in a partial or total penalty in the grade, or more serious sanctions in severe cases.
MANDATORY BIBLIOGRAGHY
Boté-Vericad, Juan-José i Vállez, Mari (2022). Aplicaciones de deepfakes. Manipulación de contenido audiovisual y riesgos para los usuarios basados en las políticas de privacidad. Documentación de las Ciencias de la Información, 45 (1), 25-32. https://doi.org/10.5209/dcin.77256
Castillo, José María (2016). Televisión, realización y lenguaje audiovisual. Madrid:Instituto RTVE (Chap. 10, 11 y 12)
Fernández Díez, Federico i Martínez Abadia, José (2018). Manual básico de lenguaje y narrativa audiovisual. Barcelona: Ed. Paidos (Chap. 1, 2, 3, 8, 9, 14)
Franganillo, Jorge (2023). La inteligencia artificial generativa y su impacto en la creación de contenidos mediáticos. Methaodos.revista de ciencias sociales, 11(2), m231102a10. http://dx.doi.org/10.17502/mrcs.v11i2.710
Gutiérrez, Maria i Perona, Juan José (2002): Teoría y técnica del lenguaje radiofónico. Barcelona: Ed. Bosch,
Joly, Martine (2019). Introdución al análisis de la imagen. Buenos Aires: La marca Editora.
Meikle, Graham (2023). Deepfakes. Cambridge: Polity Press.
Murdock, Maureen (2016). The Heroine's Journey. Disponible en: https://maureenmurdock.com/articles/articles-the-heroines-journey/
Sánchez Piñol, Albert (2020): Les estructures elementals de la narrativa. La Campana. Barcelona: Edi. Penguin Random House.
Vogler, Chistopher. (2002). El viaje del escritor. Barcelona: Ma Non Troppo.
COMPLEMENTARY BIBLIOGRAPHY
Barroso, Jaime (2008): Realización audiovisual. Ed. Síntesis, Madrid.
Blanch, Margarita i Lázaro, Patricia (2010). Aula de locución. Madrid: Ed. Cátedra,
Breil, Xavier i Roger, Dídac (2013). Dona'm la teva mirada: fonaments del llenguatge audiovisual [vídeo]. Aula Mèdia: Objectiu Comunicació, Barcelona.
Chion, Michel (1993). La Audiovisión. Introducción a un análisis conjuntode laimagen y el sonido. Barcelona: Paidós.
Comas Arnal, Eva (2009). La ràdio en essència. Elssons de la realitat a la ràdio informativa. Barcelona: Trípodos
Huertas, Amparo i Perona, Juan José (1999). Redacción y locución en medios audiovisuales: la radio. Barcelona: Ed.Bosch
Morales Morante, Fernando (2013). Montaje audiovisual. Teoría, técnica y métodos de control. Barcelona: Ed. UOC
Rodero, Emma i Soengas, Xosé (2010). Ficción radiofónica: como contar una historia en la radio. Madrid: IORTV
Rodero, Emma. (2011). Creación de programas de radio. Madrid: Síntesis.
Students should have basic knowledge of certain software, such as text editors, video editors (Premiere, Movie Maker or I-Movie or others), audio editors (Audacity or others) and network tools such as the One drive or Google environment (Google docs, Gmail ...) and hostings such as YouTube or Soundcloud.
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(SEM) Seminars | 41 | Catalan/Spanish | first semester | morning-mixed |
(SEM) Seminars | 42 | Catalan/Spanish | first semester | morning-mixed |
(SEM) Seminars | 43 | Catalan/Spanish | first semester | morning-mixed |
(TE) Theory | 4 | Spanish | first semester | morning-mixed |